As a retired teacher and an advocate for children; animal rights, world peace and understanding, we must protect our dying oceans; adapt by using clean renewable forms of energy; raise the standard of living in impoverished areas; protect endangered species and help change the way we care for our planet by reversing the ecological devastation man's greed, ignorance and warfare has already caused.
We must leave our oceans, our planet and its population in better shape than it now is and we can all contribute to do this in various ways...but we must act now.
I'm now a retired teacher but when I lived in Connecticut, my neighbor in the town of Westport decided to donate millions of dollars to charity after his son, Scott, had passed away. It never dawned on me that I could do or should do something like this until I recently found myself in a similar position.
After meeting producer Sam Heer from Beverly Hills on the Internet it was easy to decide to make this my goal in life. I will spend the rest of my days working with producers and distributors of books, music, films and games and hopefully seeing them raise a billion dollars so we might donate at least a hundred million from the profits to children's charities. This will be my work for the rest of my life and I'm honored to do this in memory of my two sons, Michael (1967-2008) and Stan (1960-2012).
INTERNATIONAL PRODUCER'S ALLIANCE
Heer, Founder/President, Hollywood, Ca.
SOME OF THE CHARITIES WE SUPPORT:
Smile Train - http://www.smiletrain.org/
United Nations World Food Programme- http://www.wfp.org/
St Jude Children's Research Hospital - http://www.stjude.org/
Doctors Without Borders - http://www.doctorswithoutborders.org/
Children International - http://www.children.org/
Shriner's - http://www.shriners.org
My only regret is that I will clearly run out of life long before I run
out of projects to produce.
Stanley N. Lozowski and Elli
ADOPT A DOG from your local animal rescue. Did you know
that of the four million + dogs that cannot find homes and are
put to sleep every year in the USA; half of them are all black?
November, 2012: Left without electricity, during SuperStorm Sandy, my son, Stanley R. Lozowski (1960-2012) died during a fire caused by a candle that was accidently knocked over. He could have easily walked down steps and saved himself, but he stayed to help a US veteran in an adjacent apartment who did not have the use his legs. They both perished from smoke inhalation minutes before the fire department arrived.
I mentor, business manage, oversee, collaborate, secure funds, co-produce and/or partner and distribute and contract to work with many talented young independent New Media filmmakers, writer/directors, musicians and actors in a dozen countries on numerous projects.
Working with many of my former film and television students since the 1990's, I was forced to retire in 2002 I began to set up digital 3D CGI and SFX, green screen live-action and compositing production studios (or cells) in many different countries. I took this idea from Osama bin Laden but my goal wasn’t was different than his.
I oversee almost 70 exceptional new media projects (culled from 1200+ submissions; each with its own website) and I ALWAYS look for more. With Filmtiq, we can partner with one of your projects or you can partner with one of ours. Partnering is not "work for hire" OR “work for free”. Partnering means "we share part of the project we create together”. My mind is always open to all options and possibilities.
Living and teaching in Connecticut during 1969, I bought two tickets so my wife and I might see a movie.
Only New York movie theaters were charging more than 99 cents at that time, but I paid the unheard of price of $50.00 for my two tickets. The film we saw was BUTCH CASSIDY AND THE SUNDANCE KID. Attending the world premiere at Yale University, we learned that the director, writer and actor, George Roy Hill, had graduated from Yale.
The event was a charity fund-raiser for the school and although Paul Newman lived close by, up until that time I had never met him. My wife wanted to see Robert Redford in person and when Newman and Redford walked in, they had a surprise guest with them at the premiere. It was Barbra Streisand and she sat in between the two actors in a roped off section in the middle of the theater audience just a few rows in front of us.
Newman and Redford became good friends after Paul borrowed Redford's Porsche and became addicted to car racing.
George Roy Hill went on to have two enormous hits (both starring Newman and Redford); BUTCH CASSIDY AND THE SUNDANCE KID and the film that won him an Oscar as best director, THE STING.
My brother and I were
always film buffs (there was no home video back then) and we each had a
16mm sound projector in our homes. My kids always had friends over to
watch movies. When one of my New York contacts told me that the studio
was making a run of 16mm prints of THE STING and that Paul Newman would
get one, he offered me a copy in trade for one of my films.
In the 1950's-60's before video recorders, many celebrities used to "collect" 16mm sound film prints for private home showings.
Many TV and film stars usually asked their studios
for copies of their films and the studios obliged. Some stars had this
request written into their contracts. The group I knew used to trade
16mm prints, but a few also collected 35mm prints that were left over
from theatrical and TV distribution (most 35mm release prints had
scratches from being shown over and over in many theaters and they were usually melted
down to reclaim the silver halides in the B&W or the rare chemicals
in the color prints). Rather than destroy these film copies, many Hollywood and TV executives simply took the best prints to screen in their home theaters.
The group of "16mm collectors" included people like Jerry Lewis, Roddy McDowall (my cousin was very good friends with his son), Sid Ceasar (who lived near my uncle), Jack Paar, John Wayne, Paul Newman, Bert Parks (who two collectors portrayed as a very "cheap" collector) and Hugh Hefner (it was rumored that he would pay almost any price to get certain films he wanted).
I personally never dealt films with
any of these celebrities but they were collectors nevertheless and I did
meet many of them and obtain their autographs because I kept adding to
my autograph collection at the time. Some celebrities would sign
several, but I only obtained one Paul Newman autograph.
Paul related that he was in the men’s room at the Westport Playhouse “in the middle of taking a leak during intermission” when a fan tried to thrust a pen and a dozen photos into his hands and coerce him to sign them all, but his hands were busy elsewhere. For Paul, that was the last straw and the first time he decided he would no longer sign multiple autographs.
No person was ever honored for what he received. Honor has been the reward for what he gave. - Calvin Coolidge
Another Connecticut neighbor several
towns away, Katherine Hepburn just wanted to be left alone. She had
already decided that she would not sign any autographs and if you met
her or went to her home, she would explain that she doesn't sign
You had to mail her so she would write back explaining how
she was returning your photos unsigned because she does not sign
autographs. Her secretary typed up dozens of letters at a time for Ms.
Hepburn to sign. All the collectors I knew would write her to get her
signed letter explaining that she doesn't sign autographs.
I had a brisk film trading business
going with Bill Nagy, owner of Niles Film Products. Bill would take all
the B&W silent films I could supply (nobody else wanted these) and I
remember selling him Technicolor prints of Max Fleischer's three Popeye
Bill made copies of any films that were in the
public domain and successfully sold prints on 16mm and Super 8 to
collectors, college film societies, libraries and TV stations. I edited
Bela Lugosi's "White Zombie" into a 400 foot Super 8 sound condensation
that received rave reviews.
Film collectors were responsible for the preservation on many films. Because many nitrate based films would decompose, the film RED RIVER was presumed "lost" until the moment that someone mentioned to an elderly John Wayne that the studio could find no copies of it.
John replied, "Lost? Hell, I got a brand new 35mm
print of it somewhere in my garage." This is the only reason why this Howard
Hawks' classic survives today.
Jack Paar came to our Stratford, Connecticut video
studio in the mid 1970's to have his 16mm films film chained and transferred to
videotape. He said, "The garbage men refused to take all the cartons of films in my
garage because they were so heavy. Once I got them copied onto video tape, I was only allowed to put a dozen reels of film out for the trash
each week. All those heavy reels of film are
I mentioned I would love to own them but I was horrified to learn that Jack threw out the thousands of kinoscopes NBC gave him of all his shows. Lost forever were his rare late night interviews and guest appearances and performances with Judy Garland, Marilyn Monroe, Clark Gable, Humphrey Bogart, Martin and Lewis, Alfred Hitchcock, Edward G. Robinson, James Cagney and almost every other major and minor star of note.
"All the people I interviewed were stuck-up snobs and idiots, he said, "but I kept all the best shows." Jack didn't bother copying any of his shows except for the best dozen that he was going to "save on video tape" for posterity; Jack Paar in Africa; Jack Paar in Russia; Jack Paar in France, Jack Paar in Mexico, etc.
In the early 1970's I was startled when my film-trading friend, John S. invited me to his house and turned out the lights to project a one minute short film that he claimed would astonish me.
"Are you ready?" he asked just before starting the projector. There on the screen were the flickering images of the 1933 King Kong on top of the Empire State Building and he was swatting the bi-wing airplanes out of the sky. I was dumbfounded. The scene had been photographed using the early two-strip Technicolor process. During the Depression it had been deemed too expensive to make the entire feature film using this process and a "collector" had saved a copy of the one minute tests.
When they were making new prints of BEN HUR for re-release, it turned out that my brother had the only 35mm print of that film with four track magnetic sound and it was stored in his garage. I believe he said that he had obtained the film from a retiring NBC executive and the color print had turned "pink" as was typical of so many release prints that were processed and never treated with the proper fixing chemicals during that era. Luckily, the magnetic sound separations were unaffected and this is why BEN HUR survives today with the original tracks.
Another friend, Tony E. was a Lone Ranger fan and he was instrumental in helping to save the first Lone Ranger serial with Lee Powell when a decomposing 35mm print was found in Argentina with Spanish subtitles.
On a warm summer
day in the mid 1970's, I was mowing the front lawn when a black passenger car pulled
into my driveway. Two men approached me and asked if I was Stanley
Lozowski. They then identified themselves as F.B.I. agents and they asked if
they could have a few minutes of my time.
It was hot in the sun and I
invited them inside my house not knowing the reason they wanted to see me but I suspected it had to do with my hobby of buying, selling and trading 16mm films. I had heard through the grapevine that the
Hollywood studios were angry that "collectors" were "copying and making
money" from their copyrighted films and that they had insisted that the F.B.I. arrest
any and all "film pirates" who owned or possessed copies of their
Bill Nagy told me
how the F.B.I. arrested him and charged him with copyright infringement
claiming he made illegal Technicolor 16mm copies of Hollywood features.
Bill said that the F.B.I. came to his camera store and confiscated a
16mm Bolex Rex camera with a turret (the camera was silent and I also
owned one) and all the Super 8 cameras in his camera store believing
they had enough proof to convict him of making Technicolor copies of
The two agents who came into my house were very
nice to me, but they refused a cold drink. I readily admitted to my
hobby of collecting 16mm films and I explained that someday I would like
to make my own films.
They asked if I ever printed lists of films for sale or trade. I asked if they would want a copy of my "16mm films for sale and trade" catalog and they replied that they already had one and pulled it out to show me. "That's a very old catalog," I said and I went to my desk and handed them copies of the newest ones.
I invited them to sit on the couch.
They did not want
to see my library of films, but as they sat on my green living room
couch, all I could think of was that I would often slide 16mm shipping containers with films under that couch when
they arrived. We lived in a split level home and the entry foyer had five steps leading up to the top level and five leading down to the lower level. If you entered the house from the front door and stood in the foyer, you could easily slide the mail and film cartons or small boxes through the metal railing behind the sofa and under the back of the living room couch since it was close to the front door but on the higher level. In the living room, it was easy to retrieve the film boxes by putting you hand under the front of the couch and sliding everything out.
I remembered a film case had arrived that very morning by
Special Delivery and I hoped it contained my 16mm print of THE STING, but I
hadn't opened it to check. Imagine my surprise as the F.B.I. agents sat on the couch
and nonchalantly asked me if I had any knowledge of 16mm prints of THE STING for sale.
All I could think of at that moment was that they just might be sitting on top of one but I had traded for it not bought it. Newer films like this were usually never sold (they were always traded) because no true collector ever wanted to be involved making money from copyright movies. When the agents saw me pause after asking their question, they must have sensed something was wrong. They asked again if I had any knowledge of anyone who had a 16mm copy of THE STING.
I didn't want to appear guilty so I truthfully answered, "Yes."
"Would you be willing to volunteer the name of this person?" one agent asked me.
I hesitated but answered, "I guess you would want me to."
"We do. And who is this person?" the agent routinely asked, taking out a small pad and clicking his ball point pen.
"He lives a few towns over in Westport," I answered, "and his name is Paul Newman. I have his address in my file." The two agents looked at each other. "If you do go to visit him," I added, "could you please tell him that Stanley N. Lozowski sent you."
"We are not interested in Mr. Newman's copy of THE STING," the agent answered. "Mr. Newman obviously has a legitimate copy of the film. His copy is evidently not stolen or bootlegged."
"Well," I responded, "Assuming I were to get a copy, how would I be able to tell if it's a legitimate copy or if it's stolen or bootlegged."
"That's what we're trying to figure out," the agent confided. "That's why we're talking with collectors like you. Obviously, if Paul Newman gave you his copy, it would be a legal copy."
"I'm a teacher and I do not know anyone who deals in stolen or bootlegged merchandise," I answered, and that was the truth.
store started as a dairy store but his family kept adding to it and it
became the world's first SUPER SuperMarket. It had it's own bakery
inside it; they made everything fresh, from sandwiches and salads and
this idea would soon spread to countless other store chains. The store
had a petting zoo for children.
It had locations with automated cartoon characters that moved (including a cow, of course). Stew Leonard's had a train that circled the entire area and kids could ride it for free. And if you spent more than $100.00 for groceries, all the kids with you received a free ice cream cone.
Stew lived close to Paul Newman (as did A. E. Hotchner, Paul's
friend and business partner) so they all conspired and when Paul came
out with his "Newman's Own Salad Dressing" it was big news on all the
Connecticut TV channels.
I was one of the first to stop at Stew
Leonard's to purchase two bottles when the product was only available at
this one store.
The store was right near my printer where I printed my
NOSTALGIA WORLD magazines and STAR TREK and BRUCE LEE comic books and
also on the way to my friend (Jon) who used to trade films with me.
Paul freely admitted that "Newman's Own" started as a joke and it was
run as a
circus. I believe Paul pictured himself as a combination of Ralph Kramden (Jackie
Gleason) and Ed Norton (Art Carney) playing the "Chef of the Future" role. What he did was done for laughs.
According to food industry experts at the time, the operation should
have lost $1 million in the first year, but what started as a joke
ended up donating close to $1 million to charity after the first 12
months of business. "The embarrassing thing" Newman once quipped, "is that the salad dressing is outgrossing my films".
Today, in the hands of skilled executives, Newman's Own has become a mainstream fixture, procuring lucrative alliances with McDonald's and Costco.
Never falter and never let anyone tell you cannot do this or that.
Pick a goal and never give up!
One person can change the world.
"One of my favorite quotes:
"Never lose sight of your goal
and never give up. "Nothing in the world can take the place of
persistence. Talent will not; nothing is more common than unsuccessful men with
talent. Genius will not; unrewarded genius is almost a proverb. Education will
not; the world is full of educated derelicts. Persistence and determination
alone are omnipotent. The slogan, 'press on' has solved, and always will solve,
the problems of the human race." - Calvin Coolidge
"Remember these words when I am dead. First be sure you're right, then go ahead.” - David Crockett
“Real leadership comes from the soul.” - Deepak Chopra, author of The Soul of Leadership
“Do or do not... there is no try." - Jedi Master Yoda in “The Empire Strikes Back”
Destined to receive a number of distinctions, awards and win the Nobel Prize, Agnes Gonxha Bojaxhiu, an Albanian, was born in 1910 in Skopje, Macedonia. What entity, did this small woman entrepreneur found in 1948 with twelve loyal team members? HINT: It grew to become one of the largest enterprises in the world and she is now considered to be one of the most successful CEO's of the last century. "Unexpected Principles for Practical Leadership" teaches how with dedication and purpose but no money she created an organization with workers active in 133 countries. Today, it has operations that include over 1 million team members, has raised and deployed billions of dollars in capital, and is one of the most recognized brands in history.
Is it Hewlett-Packard? Microsoft? Exxon? Coca-Cola? Disney? Apple? Google?
“Everything is determined, the beginning as well as the end, by forces over which we have no control. It is determined for the insect, as well as for the star. Human beings, vegetables, or cosmic dust, we all dance to a mysterious tune, intoned in the distance by an invisible piper.” ― Albert Einstein
The digital era of New Media and the e-Renaissance are here! We can no longer afford to continue to decimate our forests and trees for wood pulp and paper. Transporting, printing, sending and recycling paper requires oil and energy. The world already accepts digital content but it is just beginning to understand how it can be used.
WE SEEK NEW PROJECTS, PARTNERS and CO-PRODUCERS!
LYLOFILM assists producers of high quality live-action and animated content, e-books and digital recordings in many styles working within your budget.
Even with a large slate of projects, LYLOFILM is always looking for exceptional new projects and we're always looking for funding, venture capital, collaborators, partners and co-producers. We have 61 features, serials and games (from 1200+ submitted) in development and almost a half dozen in production. We will have a separate LLC and website for each project. My only regret is that I will clearly run out of life long before I run out of projects. We intend to have a billion dollar company before 2018 paying everyone from this expanding market: Web-to-TV in the US is gaining momentum, revenue from Web-to-TV video content will grow from $2 billion to over $17 billion by 2014. http://www.appmarket.tv/news/160-breaking-news/496-web-to-tv-video-content-revenue-will-reach-17-billion-dollar-by-2014.html
We can assist in providing unique 2D and 3D animation, CGI, Funding, Movie Titles, script development, screenplays, posters, press kits, viral marketing, graphic novels, sound design, editing and more.
Our goal is and has always been to assist in creating the best quality work within each budget.
CONTACT US: firstname.lastname@example.org
©2008, Stanley Lozowski. All Rights Reserved.